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Looper's Delight
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> Paolo helps: > >I used an Opcode Max patch that had eight delay lines, each of which > >pitch-shifted to a different interval and each of which had it's own > >"seed" number to multiply with the input MIDI velocity value to produce > >a delay time. > > So you choose any time into which delay you want to load and can change >its > "seed" number and Feedback while playing and stay synced between all >delay > lines, if you want. Yes? With my particular patch, no, but Max would let you add whatever "objects" you need to do the job. For example, a fader object to adjust the "seed" for each delay line could be connected. If you fail to find a Max object in the included object library supplied with Max to do a particular job, you can write up your own in C. Last I heard, there was a substantial repository of Max objects programmed by Max enthusiasts, but I forgot the ftp location. > The Notebook and the price of the program is a drawback for whom uses it > for this only. Ofcourse you record and organized the instruments too, > handy. What I gather from the community of interactive computer music folks is that Max is a great tool for prototyping interactive music systems. Some of them then go and program their systems in a faster language like Forth, after using Max to quickly build a prototype. The Powerbook is nice for its portability, which is a big plus for live performance. Last I heard, all five members of the computer music band The Hub had switched to Powerbooks as the computer of choice for live computer music because of the portability and the ability to run Max. > Well, for my music, I am not interested in using MIDI. It reduces > expression too much for my taste. Probably even ZIPI would have been >little > intuitive. > But: > ** I think it would be great to use similar tools and codes in audio- and > MIDI loops so we can play together, transfer, synchronize easily. ** My professor is not interested in using his trombone to trigger synthesizers directly via MIDI. Rather, he is interested in using the computer as an improvisational partner which analyzes his playing and formulates a response instead of attempting to reproduce his phrases exactly (actually his program is also capable of initiating its own improvisations without any input from its human partner). So while audio looping technology has the advantage of greater sonic expression, MIDI-based interactive technology is currently more capable of real-time analysis of an incoming stream of notes from a human musician. When the two can come together it will be an exciting time indeed. Paolo Valladolid ----------------------------------------------------------------- |Moderator of Digital Guitar Digest, an Internet mailing list |\ |for Music Technology and Stringed Instruments | \ ----------------------------------------------------------------- | \ finger pvallado@waynesworld.ucsd.edu for more info \ | \ http://waynesworld.ucsd.edu/DigitalGuitar/home.html \| -----------------------------------------------------------------